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No. 447 


The First of May 


A GIRL SCOUT PLAY 


BY 

VIRGINIA PARK MATTHIAS 

Girl Scout Captain of Westport, Conn. 


Copyright, 1922, by Samuel French 

Amateurs may present this play without payment of 
royalty. All other rights reserved. 


PRICE 30 CENTS 


New York 
SAMUEL FRENCH 
Publisher 

28-30 West 38th Street 


London 

SAMUEL FRENCH, Ltd. 
26 Southampton Street 
STRAND 


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The Charm School 

A fascinating comedy in three acts by Alice Duer Mill¬ 
er and Robert Milton. 6 males, 10 females. (May be 
played by 5 males and 8 females). Any number of school 
girls may be used in the ensembles. Scenes, two inter¬ 
iors. Costumes, modern. Plays 2 x /2 hours. 

The story of “The Charm School” is familiar to Mrs. 
Miller’s readers. It relates the adventures of a hand¬ 
some young automobile salesman scarcely out of his 
’teens who, upon inheriting a girl’s boarding school from 
a maiden aunt, insists on running it himself, according' to 
his own ideas, chief of which is, by the way, that the 
dominant feature in the education of the young girl of 
today should be CHARM. 

The situations that arise are teeming with humor— 
clean, wholesome humor. In the end the young man 
gives up the school and promises to wait until the most 
precocious of his pupils reaches a marriageable age. 

“The Charm School” has the freshness of youth, the 
inspiration of an extravagant but novel idea, the charm 
of originality, and the promise of wholesome, sanely 
amusing, pleasant entertainment. We strongly recom¬ 
mend it for high school production. 

“The Charm School” was first produced at the Bijou 
Theatre, New York, and then toured the country. Two 
companies are now playing it in England. Price, 75 cents. 

Daddy Long-Legs 

A charming comedy in four acts, by Jean Webster. 
The full cast calls for 6 males, 7 females and 6 orphans, 
but the play, by the easy doubling of some of the char¬ 
acters may be plaj^ed by 4 males, 4 females and three 
orphans. The orphans appear only in the first act and 
may be played by small girls of any age. Four easy 
interior scenes. Costumes modern. Plays 2 % hours. 

The New York Times reviewer, on the morning fol¬ 
lowing the Broadway production, wrote the following 
comment: 

“If you will take your pencil and write down, one be¬ 
low the other, the words delightful, charming, sweet, 
beautiful and entertaining, and then draw a line and 
add them up, the answer will be ‘Daddy Long-Legs.’ 
To that result you might even add brilliant, pathetic 
and humorous, but the answer even then would be just 
what it was before—the play which Miss Jean Webster 
has made from her book, ‘Daddy Long-Legs,’ and which 
was presented at the Gaiety last night. To attempt to 
describe the simplicity and beauty of ‘Daddy Long-Legs' 
would be like attempting to describe the first breath of 
Spring after an exceedingly tiresome and hard Winter.” 

“Daddy Long-Legs” enjoyed a two-years’ run in New 
York and was then toured for over three years, and is 
now published in play form for the first time. 

Price, 75 cents. 

(The Above Are Subject to Royalty When Produced) 


S AMUEL FRENCH, 2S-30 West 3Stli Street, New York City 

New and Explicit Descriptive Catalogue Mailed 
Free on Request 



The First of May 


A GIRL SCOUT PLAY 

BY 

VIRGINIA PARK MATTHIAS 

Girl Scout Captain of Westport, Conn. 


Copyright, 1922, by Samuel French 

Amateurs may present this play without payment of royalty. 

All other rights reserved. 


* > 

) ) > 




y 


) 


New York 

SAMUEL FRENCH 
Publisher 

28-30 West 38th Street 


London 

SAMUEL FRENCH, Ltd. 
26 Southampton Street 
STRAND 



Cast of Characters 



King, Queen, Princess Marguerita, Dorinda, 
daughter of the chief cook; Minstrel, Griselda, 
nurse; Oberon, king of the fairies; Titania, queen of 
the fairies. 

Fairies—Blossom, Rose Petal, Drop o’ Dew, 
Sunbeam, Orchis, Lilicup. 




JAN 29 ’23 

©CIO 63508 
'U'fc P 


The First of May 


ACT I 

Time: Many, many years ago. 

Place : A land far away—a wood near the palace. 

Enter: Oberon, Titania and fairies, dancing 
(music, Mendelssohn s Spring Song). 

Oberon. (As dance ceases) To-day is the first 
of May, and all the world is glad! Dids’t hear the 
song the buttercups were singing as we passed across 
the meadow? 

Titania. And the little brook quite overflowed 
with happiness and joy ! 

Blossom. And as I came by the palace I heard 
the little princess singing most merrily of all! 

Oberon. Ay, to-day is the little princess’s birth¬ 
day— 

Titania. And she will be crowned queen of the 
May! How gaily will the peasants disport them¬ 
selves upon the green, singing and dancing and 
flinging wreaths and bouquets at their queen! Oh, 
the whole world is happy to-day! 

Rose Petal. Is it true, oh King, that the rulers 
of this land, the parents of the little princess, do not 
look upon us with favor? 

5 



6 


THE FIRST OF MAY 


Oberon. (Sadly) More than that, Rose Petal! 
They do not believe that we fairies exist! 

(Fairies exclaim excitedly and indignantly together.) 

0 

Rose Petal. Oh, why? why? 

Drop o’ Dew. Oh how could they be so foolish! 

Sunbeam. They must be made to believe! 

Orchis. Mortals are so ignorant! 

Lilicup. Let us punish them. 

Blossom. We must show these foolish rulers 
that we really do exist. 

Drop o’ Dew. Yes, let us punish them! 

Fairies. Yes, let us punish them! 

Oberon. Think you they will believe if we pun¬ 
ish them ? 

Fairies. Yes, yes! 

Oberon. Then what plan woulds’t thou propose? 

Titania. Knowest thou the little princess, how 
obedient she Is, and modest and sweet? 

Fatries. Yes, she is a good princess. 

Titania. And knowest thou the little Dorinda, 
daughter of the chief cook, how naughty she is, and 
bold and disobedient? 

Fairies. Yes, yes! 

Titania. She is the same age as the little prin¬ 
cess. They are four years old to-day. 

Oberon. Ah, thou wouldst make Dorinda become 
the princess, and change Marguerita to a little 
wench ! 

Fairies. (Together, enthusiastically)'. 

Blossom. Fine! Fine! 

Rose Petal. A good plan! 

Drop o’ Dew. Oh, wise Titania! 

Sunbeam. Let us do it at once! 

Orchis. Come, let us go now! 

LilIcup. Let us find the princess! 




THE FIRST OF MAY 


7 

Oberon. Let us not be too hasty! Let us first 
consider well. 

Titania. Hark! The mortals approach! Away, 
fairies, away! 

("Fairies scamper off. Enter King and OueenJ 

Queen. How beautiful is the day! So peaceful, 
so happy, so bright! 

King. And how wondrous will be the scene— 
the crowning of the May Queen—our little daugh¬ 
ter ! 

Queen. It will surely be quite fairy-like in its 
beauty and splendor. 

King. Say not “fairy-like,” dear Queen. Dost 
thou not know that we have no fairies? Such fool¬ 
ish notions our peasant folk entertain. They believe 
in myths—ghosts, goblins, elves, fairies and other 
magic. 

Queen. Yes, dear King, we are above such idle 
imaginings. But will it not be beautiful—our little 
daughter drawn in her flower-decked coach to her 
throne of roses on the hill! Come, let us go! 

(Exit King and Queen. Enter Oberon, who blows 
whistle. Fairies appear.) 

Blossom. Dids’t hear them? 

Rose Petal. What further proof do we need of 
their folly? 

Drop o’ Dew. Come, let us hasten to punish them! 

All. Yes, do not delay! 

(Chant by the Fairies .) 

“Oh, gracious and good are the king and the 
queen 


3 


THE FIRST OF MAY 


But we’ll punish them, yes indeed. 

They’re gentle and kind and they’re just we 
have seen— 

But we’ll punish them, yes indeed! 

For they think that no fairies e’er romp through 
the wood, 

Or flit o’er the meadow, as gay fairies should, 

Or dance as the wee fairies could, 

And we’ll punish them, yes, indeed!” 

Oberon. The little princess will pass this way 
with her waiting maid on the way to the festivities. 

Titania. We shall cause a deep sleep to fall upon 
the maid, while we weave our spells about the two 
babes. 

Oberon. Go, Orchis and Lilicup and fetch the 
cook’s child! 

(Exit Orchis and Lilicup .) 

Titania. Hark, the princess comes! 

Oberon. Hide, fairies, hide! 

(^Fairies hide behind trees and rocks. Enter Gris- 
elda with Marguerita. J 

Griselda. Thou needst be a good girl, Your 
Highness, when they come to make thee Queen o’ 
the May! But there! Thou art ever such a sweet 
princess, that I need not admonish thee to be good! 

Marguerita. And what must I do, Griselda? 

Griselda. Let us sit here, dear princess, and I 
shall tell thee. 

Marguerita. Yes, Griselda. 
fG riselda and Marguerita arc seated on rock.) 


THE FIRST OF MAY 


9 


Griselda. The peasant folk will come to thee 
with a cart which will be covered with flowers, and 
thou must step upon it. 

Marguerita. Yes, Griselda. 

Griselda. And then— ( Oberon advances, zvav- 
ing zvand.) And then — (Sleepily.) — thou must— 
( Y awns.) — thou—thou — ( Sleeps.) 

Marguerita. (Secs OberonJ Oh, look! look! 

("Oberon blozvs zvhistle. Fairies appear.) 

Oberon. Come, let us to work! 

("Fairies circle round princess, waving wands. Mar¬ 
guerita sleeps. Orchis and Lilicup enter 
dragging Dorinda, who is kicking and scream- 
mg.) 

Dorinda. No! no! I won’t come! I won’t! I 
won’t! 

("Dorinda is placed beside Marguerita. Fairies 
circle around waving wands. Dorinda sleeps. 
Fairies move closer. Marguerita and Do¬ 
rinda change garments. Fairies serving as 
screen zvhile Fairies chant) : 
“Hm-m-m-m-m-m-Wink-te - wunk - te - wy - 
noodle ny nonny no 

Hm-m-m-m-m-m- Princess change to wench and 
wench to princess O.” 

Oberon. Now, Orchis and Lilicup, take away the 
princess who has become a wench. 

("Orchis and Lilicup take away Marguerita. 

Fairies exeunt.) 


IO 


THE FIRST OF MAY 


Griselda. (Awakes) Oh, me! I have slept! 
Come, Your Highness! (Shakes princess.) Let us 
hasten! 

Princess. (Awakes) No, no. I won’t! 
Griselda. Why, princess, what is. the matter! 
(Stands her on her feet and takes her hand.) Come ! 
("Princess screams and draws away.) 

Griselda. Why, Your Highness, I have never 
known you thus ! Come, come, I say! 

Princess. I won’t! I won’t! I won’t! 

("Griselda drags Princess away, kicking and 

screaming.) 


(CURTAIN) 



ACT II 


Time: Several years later. 

Place : Same. 

("King and Queen seated on rustic bench.) 

Queen. Yes, indeed, dear King, it is quite time 
we curbed the bold arrogance of our daughter, and 
brought her haughty spirit to a fall. Alas, that one 
of such sweet promise should so disappoint, us ! Re¬ 
member you how, obedient and innocent, our Mar- 
guerita disported herself about this wood when a 
babe, heeding our every word ? 

King. Ay, and then the quick change which came 
o’er her. On her fourth birthday, was it not, dear 
Queen ? 

Queen. The first of May, it was. 

King. And since that day she has been naught 
but a source of suffering and distress. 

Queen. Mayhap, oh King, there are fairies who 
flit through the wood and dance upon the green as 
the peasants say. Were it possible, think you, that 
angered by our denial of their existence, they caused 
our daughter to become the bold, haughty princess 
that she is? 

King. I know not—it may be. Strange tales 
have come to me. One good man stumbled coming 
from the pasture, spilling the milk, but when he 
reached his door, he found the pail full to the brim, 

- - - V . * - . 

II 


/ 


12 


THE FIRST OF MAY 


Another—a rascal—was in the act of carrying away 
a bag of gold which he had stolen, when the bag 
turned to a huge rock, nigh crushing him with its 
weight. 

Queen. And peasant folk often declare that they 
have seen fairies dancing upon this very green. 

King. It may be—it may be. (Sounds of an 
approach without.) Hark! Someone comes! (En¬ 
ter Princess, Wench and Griselda.) 

Princess. Come now, wench, tell me, am I not 
the most beautiful lady in the whole land? 

Wench. The most beautiful, Your Highness. 

Princess. But thou speakest not those words as- 
if they were thy true thoughts. Come, wench, none 
of thine insolence. 

King. Nay daughter, speak not so! The wench 
is obedient and respectful. Nay, more! She is 
gently forbearing with the ungraciousness which 
marks thine every word. Thou wouldst do well to 
learn from her virtue and modesty. Then, belike 
thou would’st find favor in the sight of the people 
of this realm, who now both despise and hate thee. 

Princess. What! I learn from this impudent 
hussy! Nay, rather would I hang from yonder tree! 

Queen. Oh come, let us away! for to see her 
thus is more than I can bear! 

(Exit King and Queen J 

Princess. Give me my mirror, wench. ('Wench 
gives it to her f glancing into it herself.) What! 
Darest thou to gaze into my mirror ? Canst thou 
imagine thyself good to look upon? Ha! Then 
even the toads may flaunt their beauty. (Music is 
heard approaching.) Who comes? Haste, wench, 
and see! 

Wench. (Turns to look) It is a minstrel, Your 
Highness. 


THE FIRST OF MAY 


i3 


Princess. Ah, he is come, doubtless, to sing my 
praises. Sit you on yonder rock, but first arrange 
my robes becomingly about me. 

( Princess scats herself on rustic bench. Wench 
arranges robes, then retires to rock which should 
be at one side and toward the front of stage. 
Wench turns face away from Princess. Enter 
Minstrel singing and playing. Ukelele, banjo 
or mandolin may be used. Minstrel’s Song — 
Tunc : Oh, Winds of the Southern Sea.) 

“Oh, I am a minstrel gay, 

I come from a land far away, 

Through all the world I go, 

Singing to friend and foe, 

Seeking a lady fair, 

With wondrous shining hair, 

And when I find her 
I’ll ask her hand, 

The prettiest maid in the land.” 

Princess. What art thou, fellow? 

Minstrel. But a wandering minstrel, fair lady, 
as my song did say. I go singing through the whole 
land, and seeking, as I go, the most beautiful lady 
on earth. 

Princess. That am I, minstrel. Let thy search 
be ended. Now sing me a lay that shall concern 
itself with my beauty. 

Minstrel. (Tune, Here Comes a Duke a-Riding) : 
“There is a wondrous maiden, a maiden, a 
maiden, 

There is a wondrous maiden, 

With a rum-de-dum-de-diddle-de-de, and a 
rum-de-diddle-de-de.” 

(Second verse.) 

This maiden is a princess, a princess, a princess, 
This maiden is a- 



THE FIRST OF MAY 


i4 

(^Wench tarns her head toward minstrel, who sees 
her, breaks off his song, and takes a few steps 
tozvard her.) 

Minstrel. ^TYWenchJ Ah, beautiful maiden ! 
Fairest of- 

Princess. (Rising and stamping foot ) Wretch! 
To call any beautiful but me! (Advancing tozvard 
Wench, who shrinks azvay.) Vile creature ! Ver¬ 
min ! To continually flaunt thine insolence before 
mine eyes! (Strikes her.) Take thy punishment, 
wench, and keep thyself from my presence. (Strikes 
her again. Wench sinks to ground and covers face■ 
with hands.) 

Minstrel. (Starts tozvard zvcnch) Ah, Prin¬ 
cess, what hast thou done! 

Princess. Nay, minstrel, come thou with me and 
sing uninterrupted. 

(Exit Princess followed by Minstrel reluctantly.) 

Wench. (Rises slowly and sits upon rock) His 
eyes did look upon me and he called me fair! Me— 
Dorinda—the wench—he called me beautiful! Oh, 
that I were a princess—that he might sing to me! 
And perhaps—perhaps- 

(Enter Minstrel swiftly—stops suddenly, and on 
seeing Wench advances quickly.) 

Minstrel. Ah, wondrous maiden, the arrogant 
princess could not keep me from thee! Throughout 
the world have I sought thee! 

Wench. Thou has sought me? 

Minstrel. Ay—have sought thee—have sought 
through all earth’s furthest corners the most beauti¬ 
ful maiden in the world, and now do mine eyes 
feast themselves upon her ! 




THE FIRST OF MAY 


15 

Wench. (Looking around) I do not see her. 
Where is she? 

Minstrel. Oh, modest, winsome, little wench, 
thou art that maiden !. 

Wench. Oh! Thou callest me beautiful? Me? 
—Dorinda—who am I but the least of the waiting 
maids that dwell within the castle? Thou callest me 
beautiful ? 

Minstrel. The most beautiful upon earth and—- 
(Kneeling.) —I am come to ask thy love. Ah, sweet¬ 
est maiden, look thou into mine eyes and tell me 
if- 

Wench. Thou askest me to love thee? 

Minstrel. (Rising) Nay, more! I ask thy 
hand. Tong have I searched for thee—deny me 
not! 

Wench. (Wonderingly) He asks me that! Me 
—who thought myself unworthy to give my hand to 
even the least of his majesty’s shepherds that keep 
their flocks upon yonder hills. (Hesitatingly takes 
a step toward minstrel.) Minstrel, I—I love 
thee! 

Minstrel. (Kisses her hand) Ah, love, we will 
hie us forth to the realm that awaits me- 

Wrench. (Startled) The realm that awaits 
thee! 

Minstrel. Ay—the realm that awaits me! Know, 
then, that I am no minstrel, but am Mysaling, Prince 
of Banziroon, whose borders lie to the east. Dressed 
as a minstrel I have sought far and wide one fitted to 
rule my kingdom with me. Now I have found her! 
Come—let us hie us hence! 

Wench. Thou—a prince! (Covers face with 

hands.) Alas ! Alas ! I can never marry a prince. 

Minstrel. But, my love- 

Wench. Nay, leave me ! 


/ 





i6 


THE FIRST OF MAY 


Minstrel. But, my love- 

Wench. Nay speak not—I cannot bear it! Oh, 
leave me, I pray thee! (Exit minstrel sorrowfully) 

Alas! how quickly doth bright joy depart, leaving 
but black sorrow in its stead! 


(CURTAIN) 



ACT III 


Time: The next day—again the first of May. 
Place: The same. 

(Enter Oberon. Sits upon rock in meditative atti¬ 
tude. Enter Blossom .) 

Blossom. Oberon, I have something to tell thee! 
Oberon. Tell on, Blossom, but first let me call 
the fairy troop. (Blows whistle. Fairies appear.) 
Now, Blossom, tell on! 

Blossom. Rememberest thou that we fairies did 
punish the rulers of this land because they would 
not believe in us ? 

Oberon. Ay— 

Blossom. Yestre’en as I flitted through the wood, 
I heard them talking. They now believe, oh King! 
Our punishment has availed. 

Titania. Oh, then we may again weave our 
spells and charm the princess back to her former 
estate! 

All. Yes, yes ! Let us be about it! 

Oberon. To-day is again the first of May, and 
once more will the peasants gather to crown the May 
Queen. Will they not rejoice when they discover 
the real princess! 

All. Oh, yes, indeed ! 

Blossom. Hush! The wench comes! 

17 


THE FIRST OF MAY 


18 


Oberon. Go, Orchis and Lilicup and fetch the 
proud princess. She is yet asleep. 

(Exit Orchis and Lilicup. Fairies hide. Enter 
Wench slowly and sadly. Scats herself on rock.) 

Wench. If he were a minstrel—if he were a 
minstrel—but he is a prince—possessor of great 
lands—ruler over many people—and I am but a 
wench— ^Fairies emerge, waving wands.) —and 
unworthy—unworthy— ( Sleeps.) 

( Orcpiis and Lilicup drag in Princess on rug, 
placing her beside Wench. Fairies circle 
around, chanting as before) : 
“Hm-m-m-m-m-m-wink - te - wunk - te - wy - 
noodle-ny-nonny-no 

Hm-m-m-m-m-m Princess change to wench and 
wench to princess, O.” 

(^Fairies break away showing Princess changed to 
Wench and Wench to Princess.J 

Oberon. Now, away with the wench! 

(Drchis and Lilicup drag away Wench, returning 
shortly to the other Fairies. Fairies retire to 
back of stage except Oberon and Titania who 
stand one on either side of Marguerita. Mar- 
guerita ivakes, sits up, and on noticing her 
dress and jewels, starts up.) 

Marguerita. Oh, where am I? What mean 
these royal robes? These jewelsf (To Titania .) 
And who art thou? (To Oberon .) And thou? 
Oberon. I am Oberon, king of the fairies. 
Titania. I am Titania, their queen. 


THE FIRST OF MAY 


19 

Oberon and Titania. We give thee hearty greet¬ 
ing, Princess. 

Marguerita. (Bewildered) Thou callest me 
princess ? 

Oberon. And princess thou art. Many years ago 
in punishment of thy parents’ unbelief thou wast 
made wench. Now they have ceased from scoffing, 
and thou, oh Princess, hast been charmed back to 
thy rightful estate. Thou art Marguerita. 

Marguerita. (Joyously) I am Marguerita! Oh, 
come, sweet fairies, dance with me, and sing a song 
to this happy day! 

(^Fairies conic forward—dance and sing with Mar¬ 
guerita. Tune: Sweetheart from “May- 

time”) : 


Marguerita. Oh sing, little fairies, of spring 
time, for I am so happy to-day. 

Fairies. You thought that no future would bring 
the time, when you would be joyful and gay. 
Marguerita. Oh I have had sorrow and weep¬ 
ing, but I’m a glad princess to-day. So, wee 
folk, your revels be keeping, this happy day, 
this first of May! 

Fairies. Princess, Princess, Princess, fair sweet 
Marguerita, 

Thou art so happy to-day 
For ’tis the glad first of May, 

Oh, dear Princess. 

Marguerita. Fairies, fairies, fairies, sing with 
Marguerita. 

All. Bid farewell to sadness and welcome to 
gladness, 

On this first day of May. 

Oberon. Come, fairies, come Princess! Let us 
find the May Queen’s chariot. 


20 


THE FIRST OF MAY 


(^Fairies and Marguerita skip off. Enter King, 
Queen, Minstrel and Griselda.) 

King. Let us sit here, clear queen, until the May 
Day procession shall have formed. 

fKiNG and Queen sit on rustic bench. Griselda 

stands behind bench. Minstrel at one side.) 

Queen. Perchance the minstrel will sing- us a lay 
to enliven the moments as we wait. 

Minstrel. Alas, your highness, I have no heart 
for singing! This worthless instrument shall ne’er 
again give tune to happy days, nor shall my sad 
thoughts be set to music. Through the whole world 
have I wandered, seeking a beautiful flower, that I 
might hold it in my hand. Now have I discovered 
the prettiest flower that grows, but alas! I may not 
pluck it! 

(Sounds of Fairies’ approach without.) 

Queen. Ah, what is this? 

(Enter Fairies drawing flower decked cart on which 
stands Marguerita. King, Queen, Minstrel 
and Griselda start forward with exclamations.) 

Marguerita. (To King and QueenJ I am 
Marguerita ! Princess ! Thy daughter ! 

King and Queen. (Astonished) Thou! Our 
daughter!” 

Marguerita. (Steps d^wn from cart) Ay! Thy 
daughter! These good fairy folk, angered by thy 
doubts, and seeking to teach thee a lesson, did 
change me to a wench, but now- 

Minstrel. (Rushes forzvard) But now—now 



THE FIRST OF MAY 


21' 


is indeed my bitterness turned to joy! Princess— 
my love! Now thou wilt come with me— (Kisses 
her hand.) 

King. How now! What says this minstrel to 
our daughter! 

Minstrel. Oh gracious King, I am indeed no 
minstrel, but Mysaling, Prince of Banziroon. See, 
here I bring the signet ring of King Theodas, my 
father, in token of my royalty. 

Queen. Theodas is our strongest but most hon¬ 
orable foe! 

Minstrel. Oh Queen, and thou, oh King, let the 
walls of enmity be torn asunder and let peace reign 
between thy house and mine! I did ask the hand 
of thy daughter, even as wench, but she, knowing 
mine high degree, refused to share my realm. Now 
she has become Princess, I do again ask her hand, 
and of thee, her royal parents. 

King. Mysaling, Prince of Banziroon, welcome! 
The Princess Marguerita is worthy of the hand of 
the noblest, and shall wed the son of Theodas and 
reign with him over Banziroon. And let the bonds 
of kindred and of friendship be between this land 
and thine. (^Minstrel kisses Marguerita’s hand. 
Both come forzvard.) 

Marguerita : 

“Oh the first of May is a happy day 

And all the world is glad. 

E’en the birds and the bees and the blossoming 
trees 

Are joyful, and none is sad 

Then sing a lay to the first of May. 

(Music starts lightly and Fairies begin to dance 

slozvly and softly.) 

Wee fairies as you dance by, 


) ) 

> > 

> > > 

} j 


) 


22 


THE FIRST OF MAY 


And woodland free, keep time with me, 
For none is so happy as I!” 

("Fairies dance as curtain falls.) 

The End. 


c 


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ACT I 


Fairies’ Song, 

“Oh, gracious and good are the king and the queen. ’ * 


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Fairies’ Song, 


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ACT II. 


Minstrel’s Song, 

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ACT III. 

Marguerite and Fairies, 

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THE FIRST OF MAY 




























































































































































































































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THE FIRST OF MAY 










































































































































































THE REJUVENATION OF AUNT MARY. 

The famous comedy in three acts, by Anne Warner. 7 males, 6 
females. Three interior scenes. Costumes modern. Plays 2 l /\ hours. 

This is a genuinely funny comedy with splendid parts for “Aunt 
Mary,” “Jack,” her lively nephew; “Lucinda,” a New England an¬ 
cient maid of all work; “Jack’s” three chums; the Qirl “Jack” loves; 

‘Joshua,” Aunt Mary’s hired man, etc. 

“Aunt Mary” was played by May Robson in New York and on tour 
for over two years, and it is sure to be a big success wherever pro¬ 
duced. .We strongly recommend it. Price, 60 Cents- 


MRS. BUMSTEAD-LEIGH. 

A pleasing comedy, in three acts, by Harry James Smith, author of 
‘‘The Tailor-Made Man.” 6 males, 6 females. One interior scene. 
Costumes modern. Plays 2J4 hours. 

Mr. Smith chose for his initial comedy the complications arising 
from the endeavors of a social climber to land herself in the altitude 
peopled by hyphenated names—a theme permitting innumerable com¬ 
plications, according to the spirit of the writer. 

This most successful comedy was toured for several seasons by Mrs. 
Fiske with enormous success. Price, 60 Cents. 


MRS. TEMPLE’S TELEGRAM. 

A most successful farce in three acts, by Frank Wyatt and Wil¬ 
liam Morris. 5 males, 4 females. One interior scene stands through¬ 
out the three acts. Co&tumes modern. Plays 2 l / 2 hours. 

“Mrs. Temple’s Telegram” is a sprightly farce in which there is 
an abundance of fun without any taint of impropriety or any de¬ 
ment of offence. As • noticed by Sir Walter Scott, “Oh, what a 
tangled web we v/eave when first we practice to deceive.” 

There is not a dull moment in the entire farce, and from the time 
the curtain rises until it makes the final drop the fun is fast and 
furious. A ^Si'y exceptional farce. Price, 60 Cents. 


THE NEW CO-ED. 

A comedy in four acts, by Marie Doran, author of “Tempest and 
Sunshine,” etc. Characters, 4 males, 7 females, though any number 
of boys and girls can be introduced in the action of the play. One 
interior and one exterior scene, but can be easily played in one inte¬ 
rior scene. Costumes modern. Time, about 2 hours. 

The theme this play is the coming of a new student to the col¬ 
lege, her reception by the scholars, her trials and final triumph. 

There are three especially good girls’ parts, Letty, Madge and 
Estelle, but the others have plenty to do. “Punch” Doolittle and 
George Washington Watts, a gentleman of color, are two particularly 
good comedy characters. We can strongly recommend “The New 
Co-Ed” to high schools and amateurs. Price, 30 Cents. 

(The Above Are Subject to Royalty When Produced) 


SAMUEL FRENCH, 28-30 W#«t 38th Street, New York City 

New and Explicit Descriptive Catalogue Mailed Free or Rowes* 



BILLETED. 

A comedy in 3 acts, by F. Tennison Jesse and H. Harwood. 4 
males, 5 females. One easy interior scen°. A charming comedy, 
constructed with uncommon skill, and abounds with clever lines. 
Margaret Anglin’s big success. Amateurs will find this comedy easy 
to produce and popular with all audiences. Price, 60 Cents. 


NOTHING BUT THE TRUTH. 

A comedy in 3 acts. By James Montgomery. S males, 6 females. 
Costumes, modern. Two interior scenes. Plays 2}4 hours. 

Is it possible to tell the absolute truth—even for twenty-four hours? 
It is—at least Bob Bennett, the hero of “Nothing But the Truth,” 
accomplished the feat. The bet he made with his business partners, 
and the trouble he got into—with his partners, his friends, and his 
fiancee—this is the subject of William Collier’s tremendous comedy 
hit. “Nothing But the Truth” can be whole-heartedly recommended 
as one of the most sprightly, amusing and popular comedies that this 
country can boast. Price, 60 Cents. 


IN WALKED JIMMY. 

A comedy in 4 acts, by Minnie Z. Jaffa. 10 males, l? females (al¬ 
though any number of males and females may be used as clerks, 
etc.). Two interior scenes. Costumes, modern. Plays 2)4 hours. 
The thing into which Jimmy walked was a broken-down shoe factory, 
when the clerks had all been fired, and when the proprietor was in 
serious contemplation of suicide. 

Jimmy, nothing else but plain Jimmy, would have been a mysterious 
figure had it not been for his matter-of-fact manner, his smile and 
his everlasting humanness. He put the shoe business on its feet, won 
the heart of the girl clerk, saved her erring brother from jail, escaped 
that place as a permanent boarding house himself, and foiled the 
villain. 

Clean, wholesome comedy with just a touch of human nature, just 
a dash of excitement and more than a little bit of true philosophy 
make “In Walked Jimmy” one of the most delightful of plays. 
Jimmy is full of the religion of life, the religion of happiness and 
the religion of helpfulness, and he so permeates the atmosphere with 
his “religion” that everyone is happy. The spirit of optimism, good 
cheer, and hearty laughter dominates the play. There is not a dull 
moment in any of the four acts. We strongly recommend it. 

Price, 60 Cents. 


MARTHA BY-THE-DAY. 

An optimistic comedy in three acts, by Julie M. Lippmann, author 
of the “Martha” stories. 5 males, 5 females. Three interior scenes. 
Costumes modern. Plays 2 x /\ hours. 

It is altogether a gentle thing, this play. It is full of quaint hu¬ 
mor, old-fashioned, homely sentiment, the kind that people who see 
the play will recall and chuckle over to-morrow and the next day. 

Miss Lippmann has herself adapted her very successful book for 
stage service, and in doing this has selected from her novel the most 
telling incidents, infectious comedy and homely sentiment for the 
play, and the result is thoroughly delightful. Price, 60 Cents. 

(The Above Are Subject to Royalty When Produced) 


SAMUEL FRENCH, 28-30 Wed 38th Street, New York City 

New and Explicit Descriptive Catalogue Mailed Free on Request 




Golden Days 

A comedy of youth, in four acts, by Sidney Toler and 
Marion Short. 7 males, 10 females. Three interior 
scenes. Costumes modern. Plays 2 y 2 hours. 

“Golden Days” is a play with all the charm of youth. 
It enjoyed a run of sixteen weeks in Chicago with 
Patricia Collinge in the leading role, and was then 
brought to the Gaiety Theatre, New York, with Helen 
Hayes in the part of “Mary Anne.” Price, 75 cents. 

Come Out of the Kitchen 

A charming comedy in 3 acts, adapted by A. E. Thomas 
from the story of the same name by Alice Duer Miller. 6 
males, 5 females. Three interior scenes. Costumes, 
modern. Plays 2% hours. 

“Come Out of the Kitchen,” with Ruth Chatterton in 
the leading role, made a notable success on its produc¬ 
tion by Henry Miller at the Cohan Theatre, New York. 
Tt was also a great success at the Strand Theatre, Lon¬ 
don. A most ingenious and entertaining comedy, and 
we strongly recommend it for amateur production. 

Price, 75 cents 

His Majesty Bunker Bean 

A farcical comedy in four acts. By Lee Wilson Dodd, 
from the novel by Harry Leon Wilson. 12 males, 6 
females. Four interior scenes. Costumes, modern, Plays 
2 y 2 hours. Those who have laughed immoderate^ at 
Harry Leon Wilson’s story will be greatly amused by 
the play, which tells the story of a cowed and cred¬ 
ulous youth who became kingly when he was tricked 
into believing himself a reincarnation of Napoleon. “His 
Majesty Bunker Bean,” with Taylor Holmes in the title 
role, was brought to the Astor Theatre, New York, 
after a run of 25 weeks in Chicago. A delightful and 
wholesome farce comedy with no dull moments. 

Price, 75 cents 

A Full House 

A farcical comedy in three acts. By Fred Jackson. 
7 males, 7 females. One interior scene. Modern cos¬ 
tumes. Plays 2V 2 hours. This newest and funniest of 
all farces was written by Fred Jackson, the well-known 
short story writer, and is backed up by the prestige 
of an impressive New York success and the promise of 
unlimited fun presented in the most attractive form. 
A cleverer farce has not been seen for many a long 
day. “A Full House” is a house full of laughs. 

Price, 75 cents 

(The Above Are Subject to Royalty When Produced) 


SAMUEL. FRENCH, 2S-30 West 3Sth Street, New York City 

Yew nr.d Explicit Descriptive Catalogue Mailed 
Free on Request 




LIBRARY OF CONGRESS 


Clarence 0 017 000 772 “ 


A comedy in four acts by Booth Tarkington, author 
of “The Man From Home,” “Penrod,” “The Country 
Cousin,” etc. 5 males, 5 females. Two interior scenes. 
Costumes, modern. Plays 2y 2 hours. 

Clarence has no medals, no shoulders bars, no great 
accomplishment. One of the “five million,” he served 
where he was sent—though it was no further than Texas. 
As an entomologist he found—on this side of the ocean— 
no field for his specialty in the great war. So they set 
him to driving mules. 

Now, reduced to civil life and seeking a job, he finds 
a position in the home of one, Wheeler, a wealthy Eng- 
elwood man with a family. And because he’d “been in 
the army” he becomes guide, philosopher and friend to 
the members of that same agitated and distracted family' 
group. Clarence’s position is an anomolous one. He 
mends the bathroom plumbing, he tunes the piano, he 
types—off stage—he play's the saxophone. And around 
him revolves such a g’roup of characters as only Booth 
Tarkington could offer. It is a real American comedy: 
and the audience ripples with appreciative and delighted 
laughter. 

Those marvelous young people, Cora and Bobby Wheel¬ 
er. are portrait sketches warranted to appeal to every' 
one but the originals. Their truth will be lost on the 
“Flapper” and the “prep” school y'outh, but to their par¬ 
ents and guardians, to all, indeed, who have emerged 
from the serious, self-conscious, period of adolescence, 
they will be an enduring joy. 

“Clarence” is a real delight. It is as American as 
“Huckleberry 7 Finn” or pumpkin pie. It is as delight¬ 
ful as any 7 native comedy which has tried to lure the 
laughter of this country' in the last ten seasons. 

Price, 75 cents. 


Three Live Ghosts 

A comedy in three acts by 7 Frederick Isham and Max 
Marcin. 6 males, 4 females (2 policemen). One interior 
scene stands throughout the three acts. Costumes, mo¬ 
dern. Play's 2% hours. 

“Three Live Ghosts” is brim full of fun and humor and 
is sure to keep audiences in gales of laughter. The 
New York critics described it as the most ingenious 
and amusing comedy of the season and genuinely and 
heartily funny. It play'ed a full season in New York 
and then toured the big cities. A lively comedy of merit 
we can strongly recommend for amateur production. 

Price, 75 cents. 

iThe Abovp Are Subject to Royalty Wlien Produced) 


SAMVEL FRENCH, 2S-30 West 3Sth Street, New York City 

New and Explicit Descriptive Catalogue Mailed . 

Free on Request * 

























